ABOUT THE BRAND
The Catholic Center at NYU is a spiritual and intellectual home for students seeking to grow in faith, friendship, and purpose in the heart of New York City. Entrusted to the Dominican Friars of the Province of Saint Joseph by the Archdiocese of New York, the Center supports students at NYU and other Manhattan colleges in their academic and career goals while helping them deepen their relationship with Jesus Christ through the life of the Church.
The Center offers daily sacraments and spiritual direction, as well as a space for prayer, study, and community. It also fosters mentorship by connecting students with Catholic professionals in business, the arts, and education.
This branding guide establishes a unified visual identity for the Catholic Center and all its affiliated clubs and ministries. The brand draws inspiration from the refined hospitality of boutique hotels and the aspirational elegance of legacy fashion houses. Through consistent design, we aim to communicate the depth, warmth, and unity at the heart of the Catholic Center’s mission.
MOOD BOARD
Beginning the design process, this “mood board” was created to establish an aesthetic. The “look” represented here informs all design elements. The primary design references for the brand are boutique hotels, bespoke fashion houses, and old-school academia. The brand should evoke the feeling of discussions with friends over cocktails in a hidden-gem hotel lobby, or sampling fabrics as you’re fitted for a suit in a 5th generation tailor shop. In other words, the brand embodies the best of the university experience: storied traditions coupled with the promise of the future, and friendships formed around aspirational ideas and attitudes.
LOGO SYMBOLISM
At the heart of the Catholic Center’s visual identity is a distinctive mark: the Dominican hound bearing a torch—an emblem rooted in the founding legend of the Dominican Order. Traditionally, the torch symbolizes the fire of truth carried into the world; in this adaptation, the flame has been subtly shaped into the iconic NYU torch, uniting Dominican tradition with the university’s own symbol of intellectual illumination.
The hound is rendered in a dynamic, forward-moving pose, using clean, geometric forms that echo the refinement of luxury fashion branding. This approach lends the mark a sense of both discipline and motion—faith grounded in tradition, yet alive and in pursuit.
To balance elegance with authenticity, the logo is treated with a gritty, ink-print texture inspired by vintage newspapers and classic bookplates. This tactility suggests timelessness and intellectual seriousness, evoking the weight of tradition while also capturing a kind of gritty youthfulness which looks enthusiastically to the future.
Stained glass dalmatian carries torch
COLOR OPTIONS
The brand offers several different versions of the logo and its sub-logos, but all of these marks are available in four color variants to maximize applicability to a variety of formats. The logos are not available outside of these four specific color variants, and care should be paid in using the right color variant for the right application .
For light backgrounds, designers should default to using the “master logo” in full color (specified as “master_color” in the files). There is also a master color variant for dark backgrounds, which renders the hound in the brand’s “yellow lab” color and the text in “Dominican white.” Sometimes, though, a composition will demand a single-color variant, and these are available in dark and light versions.
WHICH LOGO TO USE
The brand offers versions of the logo for different applications, and their use is determined by size of placement. The primary logo is horizontally very long, so it can be used on mastheads or the top of print and web applications.
When that logo is too long for the proportions of a given application, a “vertical” variant is provided. This is perfect for placement in narrow compositions or on square documents, like the cover of this branding guide. This logo is referred to as “secondary_ vertical” in the files.
There is a limit to how small the master logo can be scaled, since the “AT NYU” text is very small. To accommodate this limitation, the “NYU Catholic” variant is offered. It must be noted that this is not a distinct brand from The Catholic Center. Instead, it should be seen as being to The Catholic Center what Coke is to Coca-Cola: a shorter and sweeter name for the same product, never to be used in formal capacities .
When the logo needs to be simpler, designers must use the shield mark .
Finally, a round profile picture option is provided for social media uses.
DRAMATIC OPTION
One final variant of the logo is provided, specifically for dramatic applications. This version places the hound mark -now rendered in a “Ben Day dot pattern” -- behind the logotype.
This version of the logo looks best on its own, so it should be used only for applications in which it is not surrounded by any other type, or at most by very minimal imagery. This mark is best suited to large scale applications, like wall murals or photo backdrops for events. It is also well suited as a production logo for video content. Finally, this logo could be used in limited merchandise/collateral options, like on collegiate sweatshirts and the like.
SUB-BRANDS
The Catholic Center at NYU has several different ministry outreaches, each which administers to a different group, and each of which has it’s own set of logos in the same branding family. These logos are available only in “master” (ie, horizontal) and “shield” versions.
The Newman Club at New York University was founded in 1894, making it one of the oldest student clubs at NYU. It supports students who desire to live their Catholic faith while also pursuing their education and career goals. Its logo draws on coat of arms of Cardinal Newman, with a lone heart (humanity) pointing upwards through a wavy line (life’s challenges) to two other hearts (those of Jesus and Mary). Single color variants of this logo have been provided for use by the Newman Clubs of Baruch, Hunter, and CCNY.
The Confraternity of the Holy Name at NYU is an undergraduate club for Catholic men who promote the Holy Name of Jesus on campus and strive to live authentically Catholic lives. It’s logo incorporates the “IHS” Christogram into a monstrance-like halo of sunrays.
SHIELD VARIANTS
As explained earlier in this branding guide, “shield” versions of each logo are provided for use at smaller scales. These shields should also be used whenever the various ministries are represented next to one another on the same page.
Beyond these utility uses, there are creative and stylistic reasons to use these shields instead of another mark. Since a coat of arms or crest offers a sense of heritage or prestige, designers might choose to use these marks on formal packaging, invitation only events, or merchandise where subtlety is desired (like a lapel pin or shirt pocket).
As with all marks explored thus far (with the exception of the Newman Club logos for non-NYU schools) these crests are available in color (“NYU Deep Violet”), dark, and light versions.
CMYK: C70 M67 Y65 K74
RGB: R34 G31 B31
HEX: #221f1f
White
CMYK: C4 M2 Y2 K0
RGB: R242 G242 B242
HEX: #f2f2f2
NYU Deep Violet
CMYK: C92 M100 Y23 K28
RGB: R51 G6 B98
HEX: #330662
Lab
CMYK: C2 M7 Y34 K0
RGB: R252 G232 B180
HEX: #fce8b4
Dominican
Graphite
Yellow
COLOR PALETTE
Four colors are provided for the brand: Graphite (#221f1f), Dominican White (#f2f2f2), NYU Deep Violet (#330662), and Yellow Lab (#fce8b4). It is extremely important to note that this brand NEVER uses black or white in any application, be it web or print, as the starkness of these colors would undermine the brand’s slightly faded aesthetic and timeless look. Instead, Graphite should be used whenever a designer would normally default to black, and Dominican White should be used whenever a designer would normally default to black.
According to NYU’s own branding guide, “violet is a distinctive color that has long been associated with he nonconformist who pushes boundaries to leave their mark on the world.” Rather than use the school’s primary violet shade, however, this brand opts to utilize its secondary shade of “Deep Violet,” suggesting a robust maturity that is less electric than the primary shade .
Finally, to brighten compositions, a pale yellow shade is offered. It draws its name from an excitable and playful Labrador, mirroring its role in the color palette.
NEXA FOR BIG HEADLINES
MONSTSERRAT FOR HEADINGS
EB Garamond is to be used for body copy. It’s a free and open source implementation of Claude Garamond’s typeface, Garamond, and the matching Italic, Greek and Cyrillic characters designed by Robert Granjon. Its name is a shortening of Egenolff–Berner Garamond; the letter forms are taken from the Egenolff–Berner specimen printed in 1592.
StephenGillion for scribbles and notes
TYPOGRAPHY
Nexa Bold is used for the logo and large-scale headlines. With its clean geometry and strong presence, Nexa conveys confidence and modernity— perfect for anchoring core messages and establishing brand recognition.
Montserrat serves as the primary heading font, offering a contemporary, versatile look that complements Nexa without overpowering it. Its clear structure ensures readability across applications.
EB Garamond is used for body copy. A refined, classic serif, it evokes the dignity of printed theology texts and historic manuscripts, grounding the brand in intellectual and ecclesial tradition. Text laid out in this font should be justified with last line aligned left or right, egain to evoke vintage newspapers and books.
StephenGillion, a hand-drawn script font, may be used sparingly for annotations, emphasis, or visual texture. Its scribbled character brings a human warmth and spontaneity—reminiscent of a student’s margin notes.
PHOTOS & IMAGERY
In juxtaposition with the refined elegance of the logos and illustrative elements, the imagery associated with the brand brings the texture and grit of the city to life. Color photos should never be used. Instead, photos should be produced in black and white and with paper and “noise” textured applied. This has two functions: to evoke newspapers and bookplates (thereby complementing the logos themselves) and to create a sense of continuity with the many images from the brand’s history (which in the case of the Newman Club dates back to the 1890s). Designers would do well to use a mix of vintage and modern imagery, creating a sense of a spiritual through-line from past to present.
These images can also be overlaid with Ben Day Dot patterns, gritty textures, or combined with other elements to create mixed media collages as seen throughout this guide. The compositions should feel as though cut apart by hand from magazines, newspapers, and old books, laid on top of each other at odd angles.
Finally, illustrative elements like the hound or the torch flame can be used for pops of color, keeping to the palette of NYU Deep Violet and Yellow Lab.
Master logo used for headings
PRINT APPLICATIONS
Print materials should embody the brand’s balance of elegance and grit— refined but tactile, intellectual but alive. Use Graphite and Dominican White as foundational tones; NYU Deep Violet and Yellow Lab may be introduced as subtle accents, but never dominate. Avoid pure black or white entirely to preserve the brand’s warm, lived-in tone.
When incorporating logos, default to using the master logo (in an appropriate color variant) for headers or official settings. “NYU Catholic” should only be used in informal contexts, and the other logos according to scale parameters.
Shield is used at document base and/or in place of a seal/crest
Typography should follow the established hierarchy: Nexa for bold statements and titles; Montserrat for clarity in headings; EB Garamond, justified, for longform body text; and StephenGillion, used sparingly, to introduce personality.
Designers are encouraged to layer imagery and text elements with a mixedmedia sensibility—like a physical collage of torn paper, bookplates, and handscrawled notes. Halftone patterns, Ben Day Dots, and ink smudges can all be used to evoke analog texture.
WEB APPLICATIONS
On the web, the Catholic Center’s visual identity should convey elegance and depth without sacrificing usability. Backgrounds should favor Dominican White, avoiding true white for a softer, aged-paper effect. Text should use Graphite, never black, and contrast should be carefully managed to maintain readability without starkness.
Avoid flat, glossy aesthetics. Instead, incorporate grain textures, layered visuals, and black-and-white photography treated with noise and halftone filters to suggest depth and history. Digital compositions can echo the tactile feel of the brand’s print work, using angled layouts, vintage-inspired collages, and cut-out effects to introduce a lived-in feel. When possible, individual “paper” elements should be brought to life with parallax style effects and scroll-triggered animations. For inspiration, see the Melia London Kensington or the Hotel Saint Vincent, New Orleans websites.
Custom matchbooks are a tasteful souvenir
Merchandise should feel like found objects—useful, beautiful, and quietly intriguing. Each piece should serve a real function in students’ daily lives, while also reflecting the brand’s understated elegance and analog aesthetic. The goal is not overt promotion, but quiet curiosity. Items should spark conversation organically, allowing brand affiliation to be discovered rather than declared.
Canvas totes in muted tones, printed with ink-bleed textures or subtle symbolic elements (such as the torch or hound) rather than overt logos, offer students a practical and stylish way to carry books or groceries while evoking the tactile visual language of the brand. Custom matchbooks, modeled after those found in boutique hotels of the past, provide a poetic utility—ideal for lighting prayer candles or passing along to a friend. With minimal markings and elegant design, they operate as small tools of mystery and presence—subtle ambassadors of the brand and mission.
Avoid overly commercial or massproduced items such as plastic water bottles, cheap mugs, or standard screenprinted t-shirts, which dilute the brand’s sense of heritage and sophistication.
Don't rotate logos or change color
Don't squash or stretch logos
Don't use color stock photos
Don't use drop shadow
Don't use non-brand fonts
THOU SHALT NOT
The strength of the Catholic Center’s brand lies in its restraint, cohesion, and subtlety. Designers must avoid anything that undermines its established aesthetic.
Do not break the color palette by attempting to add additional colors from other schools or organizations; when either the Deep Violet or Yellow Lab colors would clash with a the design of a given application, simply default to the single color versions of the brand elements. Do not disrupt the brand’s warm, archival feel. Color photography is strictly prohibited; all imagery must be in black and white with added grain, halftone overlays, or paper textures. Do not incorporate other fonts.
Avoid all gimmicky graphic effects: no drop shadows, bevels, etc. Never squash, stretch, or rotate the logo, and always use the appropriate mark for the context—informal symbols (like “NYU Catholic”) should never be used in formal materials or settings. Stick to the approved typefaces and hierarchy without substitution. Every design should feel deliberate and cohesive, expressing the brand’s quiet beauty, ecclesial depth, and analog soul.
Don't use secondary logos in primary positions
